Nuevas aportaciones a la Juno de Alonso Cano : su procedencia y reinterpretación en la obra de Juan Antonio de Frías y Escalante
DOI:
https://doi.org/10.5944/etfvii.18-19.2005.1502Keywords:
Alonso Cano, Juan Antonio de Frías y Escalante, Margarita Cajés, José Cisneros, Museo de Bellas Artes de Asturias, Oviedo, Madrid, Granada,Abstract
El presente artículo viene a demostrar como la Juno de Alonso Cano perteneció primero a la colección de Margarita Cajés, hija del pintor madrileño Eugenio, y posteriormente a su viudo, Don José de Cisneros, y cómo tras su muerte fue adquirida en pública almoneda (1665) por el pintor cordobés Juan Antonio de Frías y Escalante (1633-1669). Asimismo, el pintor cordobés transcribió con innegable fidelidad el modelo de la Juno en su San José con el Niño, San Juanito, y dos ángeles, del Museo de Bellas Artes de Asturias, Oviedo.
This article sheds new light on the provenance of the famous painting by Alonso Cano representing the roman goddess Juno, that once belonged to the collection of Margarita Cajés. Futher research shows that it is the same work purchased in 1665 by the Spanish painter Juan Antonio de Frías y Escalante (1633- 1669). In fact, the young painter has faithfully transformed the enigmatic goddess into a new composition representing Saint Joseph and the Christ child, now at the Museo de Bellas Artes de Asturias, in Oviedo.
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